{"id":4164,"date":"2026-09-12T11:34:17","date_gmt":"2026-09-12T11:34:17","guid":{"rendered":"https:\/\/www.zentrum-oep.at\/?page_id=4164"},"modified":"2026-09-12T11:34:18","modified_gmt":"2026-09-12T11:34:18","slug":"common-diversities-exhibit","status":"publish","type":"page","link":"https:\/\/www.zentrum-oep.at\/?page_id=4164","title":{"rendered":"Common Diversities – Exhibit"},"content":{"rendered":"\n
\"\"<\/a><\/figure>\n\n\n\n

Roots & Belonging<\/strong> <\/h1>\n\n\n\n

Living Memories, Sharing Stories<\/strong><\/h2>\n\n\n\n

Clay Palayok \u00b7 Indigenous Attire \u00b7 Painting \u00b7 Photography \u00b7 Sculpture \u00b7 Textile Art<\/h3>\n\n\n\n

What connects us to a place, a community, or a culture?<\/p>\n\n\n\n

Roots & Belonging brings together photography, painting, sculpture, textile art, Indigenous attire, and installation. Through different materials and perspectives, the exhibition explores how memories are carried forward and how belonging takes shape.<\/p>\n\n\n\n

The photographs show moments of everyday life, including community gatherings, work, travel, land, and water. The paintings and sculptures explore people, nature, identity, memory, and imagination. Textile works and Indigenous attire hold stories through color, pattern, fabric, and craft. The clay palayok invites us to remember and reflect.<\/p>\n\n\n\n

There is no single picture of culture here. The works bring together different voices and ways of seeing. Some connect with the past, while others respond to life today. Together, they invite us to consider what we inherit, what we value, and what we carry into the future.<\/p>\n\n\n\n

Discover the connections held in images, objects, materials, and everyday moments.<\/p>\n\n\n\n

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Clay Palayok \/ Alyssa \u201eMayari\u201c Gruezo<\/strong><\/h3>\n\n\n\n
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.<\/p>\n\n\n\n

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Indigenous Attire \/ Ana Maria Cruz Langer<\/strong><\/h3>\n\n\n\n

IGOROTS OF THE CORDILLERAS<\/h4>\n\n\n\n
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IBALOI – Benguet Province<\/h4>\n\n\n\n
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The traditional Ibaloi women\u2019s attire features a handwoven tapis,\u00a0a rectangular wrap around skirt secured at the waist,\u00a0particularly suited to the cool mountainous environment of Benguet. The upper portion of the ensemble consists of a\u00a0blouse or woven cloth, sometimes complemented by a shoulder covering or additional textile.\u00a0Traditional accessories may include\u00a0beaded necklaces, bracelets, earrings, belts, and other ornaments, which complete the ensemble, adding color and visual emphasis.\u00a0Acquired from Easter Weaving House, Baguio City.<\/p>\n\n\n\n

GA’DANG (female) – Paracelis, Mountain Province<\/h4>\n\n\n\n
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The traditional Ga’dang female ensemble features the aken<\/em> or tapis<\/em>, a bright red and dark blue handwoven fabric, secured by a belt called bakwat<\/em>,\u00a0and a long sleeved blouse called barawasi<\/em> – decorated with colorful beads.\u00a0Women wear a status-indicating native headdress called binakaw<\/em>,\u00a0layered with headbands, alongside lavish seed-bead necklaces, bracelets and tasseled combs. This particular Ga’dang garment originates from\u00a0Paracelis, Mountain Province and was carefully crafted\u00a0by culture bearer Margareth Gumaad Balansi.<\/p>\n\n\n\n

GA’DANG (male) – Paracelis, Mountain Province\u00a0<\/h4>\n\n\n\n
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The traditional Ga’dang male attire features a woven baag<\/em> (loincloth)\u00a0accompanied by a decorated vest or jacket. Rich geometric patterns in red, black, white and yellow are complemented by elaborate beadwork. Multistrand necklaces, chest ornaments, bracelets, arm bands, belts and distinctive head coverings contribute to the striking appearance of ceremonial dress and express Ga’dang identity and artistry.\u00a0This particular Ga’dang garment originates from\u00a0Paracelis, Mountain Province and carefully crafted\u00a0by culture bearer Margareth Gumaad Balansi.<\/p>\n\n\n\n

LEGENDS OF SOUTHERN PHILIPPINES\u00a0<\/h4>\n\n\n\n

TBOLI (male) – South Cotabato\u00a0<\/h4>\n\n\n\n
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The traditional Tboli male attire consists of the\u00a0Kagal<\/em> (shirt) and Sawal<\/em> (trousers) made of handwoven\u00a0T\u2019nalak<\/em>, a\u00a0resist-dyed abaca cloth produced through the ikat technique,\u00a0with geometric design and color<\/p>\n\n\n\n

TBOLI (female) – South Cotabato\u00a0<\/h4>\n\n\n\n
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The Tbolis<\/em> are an indigenous\u00a0group\u00a0of lumads (non-Christian, non-Muslim), living in the highlands of South Cotabato in Mindanao. Their traditional attire is\u00a0deeply revered for its artistry, vibrant colors, and spiritual significance. Central to their entire wardrobe is\u00a0T\u2019nalak<\/em>,\u00a0a sacred cloth hand-woven from abaca<\/em> fibers using a traditional tie-dye technique called ikat<\/em>.\u00a0The designs are passed down through generations by „dreamweavers,“ who are said to receive the complex geometric patterns in dreams from the abaca spirit,\u00a0Fu Dalu.<\/p>\n\n\n\n

AGUSAN MANOBO – Agusan del Norte<\/h4>\n\n\n\n
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The traditional Agusan Manobo attire is distinguished by\u00a0textiles of vibrant contrasting colors and elaborate suyam<\/em> embroidery in its\u00a0upper garment called umpak<\/em> and skirt called sada<\/em>.\u00a0Geometric and figurative motifs\u2014including diamonds, zigzags, stars, leaves and animal forms\u2014are arranged along seams, sleeves, necklines and broad decorative bands. The richly embroidered garments express the community\u2019s artistic knowledge, cultural traditions and\u00a0connection to everyday and ceremonial life.<\/p>\n\n\n\n

BAGOBO TAGABAWA – Davao del Sur<\/h4>\n\n\n\n
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A richly decorated ensemble of the Bagobo Tagabawa,\u00a0an indigenous group of\u00a0southern Mindanao, combining handwoven textiles with colorful embroidery, beadwork and geometric and nature-inspired motifs. The elaborate decoration reflects the community\u2019s distinctive weaving and ornamentation traditions and expresses cultural identity, artistry and connection to the natural and spiritual world.\u00a0Women traditionally wear a fitted blouse kumbung<\/em>\u00a0with a wraparound skirt, often called bandana<\/em> or ampak<\/em>,\u00a0depending on the community and garment type. Beautifully crafted by 70-year old culture bearer, Arlyne Salazar of Davao del Sur, Philippines.<\/p>\n\n\n\n

MANDAYA – Davao Oriental, Davao del Norte<\/h4>\n\n\n\n
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The traditional Mandaya women\u2019s attire from eastern Mindanao features the dagum<\/em>, an intricately embroidered blouse with bright colored threads in geometric patterns; and the coarsely textured\u00a0dagmay<\/em>\u00a0skirt which is handwoven from abaca fiber and designed with various patterns depicting their folklore and traditions.<\/p>\n\n\n\n

THE ELEGANT FILIPINIANA<\/h4>\n\n\n\n

TRAJE DE MESTIZA<\/p>\n\n\n\n

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The Traje de Mestiza<\/em> or more commonly known as the Maria Clara, Jose Rizal’s heroine in his novel „Noli me Tangere“, has played an important role in the heritage of the Philippines. It is a more elegant version of the „Baro’t Saya“ and have four basic parts: a camisa (blouse) with oversized bell-shaped sleeves, a panuelo (kerchief) and a saya (skirt) that flares out at the hem and a tapis (over skirt). Today, the elegant Maria Clara is still donned by women during formal gatherings and festivities. This modern Maria Clara costume was used by Folklorico Filipino for a joyful courtship dance which originated from Atimonan, Quezon called „Putritos“.\u00a0<\/p>\n\n\n\n

TERNO – National Dress for Women in the Philippines\u00a0<\/p>\n\n\n\n

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From the „Traje de Mestiza“, the fashion style dramatically evolved through the years into the „Terno“. By the mid-20th century, the 4 components of the „Traje de Mestiza“ were elegantly combined into one piece and was called the<\/p>\n\n\n\n

„Terno“. It now comes in various colors and designs, but its main characteristic is the flattened sleeves, also termed as „butterfly sleeves“ that makes it uniquely distinct. This Jusi Barong Terno on display is made of fine pineapple fabric and meticulously embroidered by local artisans from Taal, Batangas. \u00a0<\/p>\n\n\n\n

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Harold Khan \/ Painting<\/strong><\/h3>\n\n\n\n

„We are all in the mix<\/strong>„<\/h4>\n\n\n\n
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My work reflects the experience of living between cultures, carrying memories of home while building a life elsewhere. As part of the Filipino diaspora, I explore themes of identity, belonging, and the invisible threads that connect people across borders. Through my art, I hope to honor the resilience of those who leave, the traditions they carry with them, and the new stories they create in unfamiliar places. This piece is an invitation to reflect on how distance can reshape, but never erase, our sense of home.<\/p>\n\n\n\n

\n\n\n\n

Melissa Peritore<\/strong> \/ Textile Art <\/h3>\n\n\n\n

„Something to remember“<\/strong><\/h4>\n\n\n\n
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Although these images belong to different households\u2014photographs preserved in my family albums and those of my friends\u2014they are bound by a shared history: the experience of having parents who left the Philippines at a young age to build new lives abroad.<\/p>\n\n\n\n

Migration is often marked by sacrifice and separation. Many leave behind not only their homeland, but their children, parents, siblings, childhood homes, and entire communities. In search of economic opportunity, our parents and relatives endured the loneliness of starting over in unfamiliar countries,\u00a0 often\u00a0facing tough working conditions, cultural displacement, and the emotional burden of being far from those they loved.\u00a0While migration offered hope, it also demanded resilience, as families learned to navigate life across continents, separated by distance yet bound by enduring affection and responsibility.<\/p>\n\n\n\n

The handwriting featured in this work consists of messages written on the backs of the photographs\u2014a vital form of communication at a time when international phone calls were prohibitively expensive and social media did not yet exist.\u00a0These handwritten notes carried news, affection, longing, and reassurance across oceans. The photographs became precious objects, serving as emotional lifelines that allowed families to remain present in one another’s lives despite years of physical separation.<\/p>\n\n\n\n

In some photographs, traditional Filipino patterns were embroidered as a way of preserving cultural heritage that might otherwise fade through migration and assimilation. By stitching these motifs onto family images, I seek to reaffirm the enduring presence of Filipino identity and to remind that, no matter how long we live abroad or how far we travel, our roots, histories, and cultural memory remain woven into who we are.<\/p>\n\n\n\n

\n\n\n\n

Christian Namis<\/strong> \/ Photography<\/h3>\n\n\n\n

„How I saw the Philippines“<\/strong><\/p>\n\n\n\n

\"\"<\/a>
@Christian Namiss<\/sup><\/figcaption><\/figure>\n\n\n\n

Travelling broadens our perspective, introduces us to different ways of life, and deepens our understanding of the places we visit. Through these photographs, I share moments from my private journeys through the Philippines in 2009 and 2014, capturing what left the strongest impression on me.<\/p>\n\n\n\n

During my travels, I intentionally avoided the major cities, choosing instead to experience life beyond the urban centres. By observing everyday life in rural communities, I gained a renewed appreciation for what matters most: family, friendship, community, and the simple moments that bring people together.<\/p>\n\n\n\n

\n\n\n\n

Selected Works<\/strong><\/h3>\n\n\n\n

Presented by the Bastedor Art Project<\/strong> in partnership with sige!<\/strong>, this curated selection of artworks highlights the diversity and vitality of contemporary Philippine art. Featuring works in painting, sculpture, mixed media, and multidisciplinary practices, the collection reflects a range of artistic perspectives and explores themes of identity, culture, memory, nature, sustainability, and the human experience. Together, these works offer audiences an opportunity to engage with the richness and evolving landscape of Filipino contemporary art while fostering connections between artists in the Philippines and Filipino communities abroad.<\/p>\n\n\n\n

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Norlie Meimban<\/strong><\/h4>\n\n\n\n
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Astrid Castillo\u2011Almario<\/strong><\/h4>\n\n\n\n
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Addie Cukingnan<\/strong> <\/h4>\n\n\n\n
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Arnel Garcia<\/strong><\/h4>\n\n\n\n
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Binong Javier<\/strong><\/h4>\n\n\n\n
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Ram Mallari Jr.<\/strong><\/h4>\n\n\n\n
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<\/p>\n","protected":false},"excerpt":{"rendered":"

Roots & Belonging Living Memories, Sharing Stories Clay Palayok \u00b7 Indigenous Attire \u00b7 Painting \u00b7 Photography \u00b7 Sculpture \u00b7 Textile Art What connects us to a place, a community, or…<\/p>\n","protected":false},"author":4,"featured_media":3160,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"ngg_post_thumbnail":0,"footnotes":""},"class_list":["post-4164","page","type-page","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\nCommon Diversities - Exhibit - Sentro<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.zentrum-oep.at\/?page_id=4164\" \/>\n<meta property=\"og:locale\" content=\"de_DE\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Common Diversities - Exhibit - Sentro\" \/>\n<meta property=\"og:description\" content=\"Roots & Belonging Living Memories, Sharing Stories Clay Palayok \u00b7 Indigenous Attire \u00b7 Painting \u00b7 Photography \u00b7 Sculpture \u00b7 Textile Art What connects us to a place, a community, or...\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.zentrum-oep.at\/?page_id=4164\" \/>\n<meta property=\"og:site_name\" content=\"Sentro\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/Zentrum-f%c3%bcr-%c3%b6sterreichische-und-philippinische-Kultur-und-Sprache-329255200458130\/\" \/>\n<meta property=\"article:modified_time\" content=\"2026-09-12T11:34:18+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/www.zentrum-oep.at\/wp-content\/uploads\/2026\/03\/2026-03-15_Arlene_v02_small.jpeg\" \/>\n\t<meta property=\"og:image:width\" content=\"876\" \/>\n\t<meta property=\"og:image:height\" content=\"474\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Gesch\u00e4tzte Lesezeit\" \/>\n\t<meta name=\"twitter:data1\" content=\"14\u00a0Minuten\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/www.zentrum-oep.at\\\/?page_id=4164\",\"url\":\"https:\\\/\\\/www.zentrum-oep.at\\\/?page_id=4164\",\"name\":\"Common Diversities - 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